A Companion to the Works of Friedrich Schiller (Studies in by Steven D. Martinson

By Steven D. Martinson

Friedrich Schiller isn't simply one among Germany's premiere poets. he's additionally one of many significant German individuals to global literature. In Germany, Schiller celebrations and commemorations nonetheless play a job within the formation of public opinion, and the timeless phrases he gave to characters reminiscent of Marquis Posa in Don Carlos and Wilhelm inform within the eponymous drama proceed to underscore the necessity for human freedom. Schiller cultivated desire within the actualization of ethical wisdom via aesthetic schooling and important mirrored image, resulting in his perfect of a extra humane humanity. even as, he used to be absolutely cognizant of the issues that attend numerous sorts of idealism. but for Schiller, eventually, love continues to be the gravitational heart of the universe and of human life, and past existence and dying pleasure prevails. This number of state-of-the-art essays by way of many of the world's top Schiller specialists constitutes a milestone in scholarship that's quite well timed in view of the 2 hundredth anniversary of the poet's demise in 2005. specified cognizance is given to either the paradigm shifts in Schiller's paintings in its improvement over the years and the indelible imprint of the early writings on his later works. The participants additionally stay delicate to the a number of degrees on which the poet was once operating. the amount contains in-depth discussions of Schiller's significant dramatic and poetic works, his essays on aesthetics, and his actions as historian, anthropologist, and physiologist, in addition to of his relation to the ancients and of Schiller reception in twentieth-century Germany. participants: Steven D. Martinson, Walter Hinderer, David Pugh, Otto Dann, Werner von Stransky-Stranka-Greifenfels, J. M. van der Laan, Rolf-Peter Janz, Lesley Sharpe, Norbert Oellers, Dieter Borchmeyer, Karl S. Guthke, Wulf Koepke.

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Finally, in mid-May 1782, young Schiller wrote a “Trauergedicht” on the death of the fort commander, Philipp Friedrich Rieger. Like Daniel Schubart, Rieger had spent time at the prison on the Hohenasperg under the worst of conditions (“in grausamster Haft”; Lahnstein, 92). Schiller’s own short-term imprisonment by Duke Eugen for deserting to attend the premiere performance of his first highly successful play, Die Räuber, in Mannheim, also put him in contact with Rieger. In fact, Schiller shared a review of his drama with Rieger while they were both imprisoned.

Rather, it was grounded in self-knowledge and in his vocation as a writer. Ethics and Aesthetics Despite claims to the contrary, and as we have suggested, in Schiller’s writings, aesthetics and morality are intimately related. For example, in the essay, Über den moralischen Nutzen ästhetischer Sitten (On the Moral Value of Aesthetics, 1793) the writer sees the true enemy of morality (“Feind der Moralität”; 8:814) to lie in that sense drive that seeks satisfaction alone, that is, self-satisfaction.

Schiller’s insight into the dualistic structure of human nature belongs no less to his psychosomatic principles than does the conclusion that the individual must SCHILLER’S PHILOSOPHICAL AESTHETICS 35 do everything in his power to achieve a harmony of forces. Every extreme emotion, whether pain or desire, aims at its resolution (8:158). Shifted to the psyche, there is an essential difference whether the sensation of love leads to self-expansion or whether the emotion of hatred leads to selfdiminution.

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